RUSSIA’S CHAOS

Sun (Auckland), Volume III, Issue 846, 14 December 1929, Page 20

RUSSIA’S CHAOS

“THE RED DANCE” AT THE STRAND DOLORES DEL RIO REAPPEARS In the last six years or so stories based on Russia’s chaos have been legion; in fact, their vogue in motion pictures long ago exhausted itself save in the cases of such outstanding achievements as “The Volga Boatmen” and “The Last Command.” Now Auckland is offered another—so long delayed as to date back to the advent of talkies, but none the less acceptable for all that—and one that takes a proud place in the ranks of those big Russian revolution productions of the past. It was the principal item on the programme which opened a new film week at the Strand last evening, and worthily upheld the reputation of that house for really worth-while entertainments. “The Red Dance” is a sound-syn-chronised release from the Fox Movietone studios which means, in this case, that it is a subtitled picture, richly embellished with uncommonly appropriate music and general sound effects by the Roxy Orchestra of New York. Made originally in the silent film days the film counted rightly as one of the best of its period.. Brought up-to-date with its synchronisation it holds its own with any contemporary picture. It is certainly an outstanding vehicle for Dolores Del Rio, the temperamental Mexican beauty. The many admirers of Dolores in

“Ramona” and “Revenge” will not be disappointed by her work in “The Red Dance.” It is certainly the greatest setting she has had for her charms and undoubted talent—a setting fitting for the greatest of stars. “The Red Dance” was popularised by the publication of the story in book form, but this, though interesting enough, is but an inadequate adaptation of the film that inspired it. “The Red Dance” or “The Red Danger of Moscow,” as it has been titled, was devised as a photoplay, not as a book; and it is as a photoplay that it achieves its greatest dramatic success. Dolores has never acted better than in the part of Tasia, the Russian peasant girl, who raises in the revolution from the very humblest of positions to the top-most pinnacle of theatrical fame in Moscow, at the same time performing a sort of Cinderella evolution and marrying the fairy prince after many trials and excitements. Sometimes one may quarrel with her conception of emotional values and subtleties, but never with her sincerity and flexible versatility. She is the peasant girl to the core of her personality; then, in a trice, she becomes the scornful alluring dancer. Opposite the star is Charles Farrell and Ivan Linow, the last-named of whom gives a really excellent performance as the uncouth peasant who seeks the hand of the heroine. The renowned Rasputin comes into the picture on divers occasions, portrayed by Dimitri Alexis. Easily the finest moments in the production are the scenes which depict the capture of Moscow by a frenzied mob; not merely because the scenes are spectacular, but because they are so well and realistically devised, and so carefully kept within the bounds of historic possibility. First on the Strand programme last evening was the Fox Movietone News Budget, introducing once again the King of Spain, who talked happily about his dominion. Then came Lionel Atwill in a short and highly-dramatic version of the English play, “The Knife.” Built round the situation of a surgeon faced with an operation on a man who he has discovered to be his wife’s lover, “The Knife” provides a unique tabloid dramatic thrill. It was excellently done and clearly spoken.